Conductor’s Score
Ceasing A Piece for Choir and Electronics by Joe Bates
Instrumentation For SATB, in eight parts. If further singers are available, parts may be doubled, but the passages marked ‘solo’ should be performed by just one singer.
Notes Duration: c.16’ Special Techniques Transition smoothly from one technique to another. Repeat the marked passage, out of tempo, until the next rest. Open / Closed. When closed, a hand should be placed over the mouth so that little sound escapes. Alternate between closed and open increasingly/decreasingly rapidly, starting off slowly (c. crotchets) and ending up rapid (c. semiquavers).
Whistle
A very high or very low note, either sung (left) or whistled (right). The highest note should be very high but not forced, the lowest note should be very relaxed, and almost devoid of pitch. “Scoops” and “plops” are notes proceeded by a short glissando, which is performed on the beat.
Microtonal Notation The unconventional accidentals are 31c flatter than the symbol would usually indicate. This corresponds to the 7th harmonic: 31c flatter than a flat 31c flatter than a natural 31c flatter than a sharp
Glissandi When a specified note is given at the beginning of a glissando, it should be slightly emphasised. If no specific note is given (i.e. a highest or lowest note is indicated) then the glissando should start immediately.
Bracketed Vowel Sounds To avoid hearing doubled consonants at the end of notes, sometimes singers are asked to sing just the vowel sound, or just the first consonant and the vowel sound. Where this is the case, the final consonants are indicated in brackets to aid pronunciation.
Free Tempo Section, Letter T–V At the general pause at bar 125, the conductor should wait for the electronics to cross-fade with the sustained vocal chord. Once the electronics are established, they should lead into T. At T, the conductor should cease to beat time. Instead, they should mark out each chord with an upbeat and downbeat, marking the chords number (I-VII) with their fingers if need be. The singers should perform their passages using their natural speech rhythms. Notes with hollow note head should be sustained, otherwise passages should end after the final note, even if the chord is still going on. Singers should not be concerned if they end up a little behind when the conductor moves onto the next chord. Instead, they should keep going, contracting any gaps in their line in order to get back into synchronicity. The desired effect is a a cloud of spoken, recitative-like melodies that form clouded chords.
Other Free Tempos/General Pauses H: The conductor should stop beating tempo at bar 58. The singers should freely repeat their boxes. On the conductors cue, the score transitions to I. The electronics fade out. When fully fade, the conductor can cue bar 62 and begin the next section. N: The performers should pause on the second note, waiting for the electronic processing of their line to be audible. The conductor will cue bar 99 with an upbeat. AA-BB: The transitions should led by the electronics. The conductor should wait for the electronic cue, then lead the choir to the next chord.
Overtone singing Overtone-rich notes can be produced by pursing the lips while singing. The partials produced are not specified and need not be controlled, but should not change too rapidly.
Electronic Notation All singers should sing into a microphone, which should be fed into a computer and processed live using Ableton. Alongside this live processing, the electronic performer uses a synthesiser and drum machine. Changes in the electronics are not generally notated in
the full score or in the singers’ parts, other than where a specific note or chord is produced using a synthesiser. Vocal Processing While they are not notated, it is worth understanding the basic sounds that will be generated through vocal processing to avoid surprise: Echo (A): This effect varies between a simple echo and a highly processed, distorted echo. Echo (B): This effect plays back samples of the singers line a seventh higher, a fifth lower, and, more quietly, a 5th higher and an octave lower. It also reverses these samples, creating a strange linguistic effect. Granular (C): This contains three effects. The Granular effect samples small passages of its input, repeating them at varying speeds. This can then be transposed. The Vocoder effect tracks the pitch of the input and outputs a sine tone a fifth and an octave and a fifth higher. These tones randomly shift in their tuning. Synthesiser A wave-table synthesiser, recorded and used as triggered clips in Ableton, accompanies the choir. Performance The electronic part requires Ableton Live and external MIDI controllers. The score is written with the desired effects in mind, the part is notated specifically for a given set up, which involves a Novation LaunchControl and a Novation LaunchKey 49. 
Ceasing Joe Bates
° 3 Soprano 1 & 4
q=63
∑
∑
∑
∑
∑
∑
∑
∑
Soprano 2
& 43
∑
∑
∑
∑
∑
∑
∑
∑
Alto 1
3 &4
∑
∑
∑
∑
∑
∑
∑
∑
Alto 2
3 &4
∑
∑
∑
∑
∑
∑
∑
∑
3 &4 ‹
∑
∑
∑
∑
∑
∑
∑
∑
& 43 ‹
∑
∑
∑
∑
∑
∑
∑
∑
Tenor 1
Tenor 2
+ ?3 Bass 1 & 2 ¢ 4 b˙˙ ™™
mp * see note
O
Electronics
3 & 4 {
∑
˙™ ˙™
b˙˙ ™™ ∑
+ b˙˙ ™™
o ˙˙ ™™ ∑
∑
˙™ ˙™
b˙˙ ™™
O
∑
o b˙˙ ™™
∑
∑
∑
* Use hand to close/open mouth. Some sing as written, an equal number reverse polarity of open/closed.
2
° & 9
S1
A
∑
∑
∑
∑
∑
∑
∑
S2
&
∑
∑
∑
∑
∑
∑
∑
A1
&
∑
∑
∑
∑
∑
∑
∑
A2
&
∑
∑
∑
∑
∑
∑
∑
& ‹
∑
∑
∑
∑
∑
∑
∑
T1
p
& ™ ‹ ˙ A + ? B1.2. ¢ ˙˙ ™™ El.
{&
b˙- ™
b˙ ™
T2
O
mp * see note
A
b˙˙ ™™ ∑
b˙˙ ™™ ∑
∑
b-˙ ™
b-˙ ™
b-˙ ™
o ˙˙ ™ ™
+ b˙˙ ™™
˙˙ ™™
∑
O
* Emphasise the written pitch slightly, for about a quaver.
∑
bœ- ™
b˙˙ ™™ ∑
j Œ bœ-
∑
B
° & 16
S1
C ∑
∑
∑
∑
∑
solo
œ bœ œ œ œ à˙
mf
f mf
3
In the cab,
S2
A1
& &
∑
∑
∑
∑
∑ ∑
∑
∑
∑
∑ p
b˙ ™
∑
Da
A2
T1
& & ‹
∑ ∑
& b˙ ™ ‹ A o ? B1.2. ¢ b˙˙ ™™ T2
El.
{&
∑
∑
∑ b˙ ™ + ˙˙ ™ ™ O
∑
∑ ∑ b˙ ™ b˙˙ ™™ ∑
∑
∑
∑ b˙ ™ ˙˙ ™™ ∑
∑
∑
+ b˙˙ ™™ A
O
b˙ ™ da
da
∑
b˙ ™
I
˙˙ ™ ™ ∑
can hard -ly bear to
mp
f mf
3
bœ ™ bœj Œ b˙ ™
∑
∑
à œ bœ œ œ œ ˙
mf
In the cab,
o b˙˙ ™™
I
œbœ bœ bœ œ œ
b˙ ™
∑ solo
3
∑ œbœ bœ bœ œ œ
b˙ ™
can hard -ly bear to
b˙˙ ™™ ∑
∑
4
° & ˙ 24
S1
œ bœ b˙
face
S2
A1
A2
the dri
∑
&
-
bœ
ver.
b˙ ™
da
da
∑
Œ
˙
∑
& b˙ ™ &
mp
∑
b˙-
∑
mf
bœ
A
∑
p
˙™
∑
∑
& ˙ œ bœ bœ b˙ ‹ face the dri -ver
& b˙ ™ ‹ o ? B1.2. ¢ ˙˙ ™™ T2
El.
{&
∑
Œ Œ
b˙
∑
bœ ™ bœj Œ b˙ ™
b˙ ™
b˙˙ ™™
˙˙ ™ ™
A
+ b˙˙ ™™ ∑
œ
O
∑
∑
∑
˙™
∑ mf
bœ
A
T1
∑
3
Do I
∑ p
∑
D bœ bœ bœ œ mf
b˙ ™
∑
˙™ ∑
+ b˙˙ ™™ ∑
Œ
3 bœ bœ bœ œ
bœ ™
˙˙ ™™
Œ
mf
Do I
o
∑
b˙ ™ œ
b˙ ™
b˙˙ ™™
∑
Da
p
∑
cry,
O
cry,
jŒ bœ
∑
° <b>œ nœ bœ œ & 31
S1
3
œ
œ àœ nœ œ
so he knows,
S2
A1
or lock my
∑
&
da
A2
T1
T2
B1.2.
El.
& ‹
<b>œ nœ bœ œ
& b˙ ™ ‹ A
3
so he knows,
∑
∑
b˙ ™
b˙ ™
da
da
da
œ àœ nœ œ b˙ ™
or lock my
˙˙ ™ ™
? ˙™ ¢ b˙ ™ {&
œ
∑ mp
∑
b˙ ™ A
∑ b˙ ™
˙ 4
b˙ ™
eyes u - pon the road a -
head
∑
(on the beat)
˙
Œ
bœ ™
jŒ bœ
œœ
o b˙˙ ™™
˙˙ ™™ ∑
p
œ ˙
A
œ œ œ œ bœ bœ œ- œ
b˙ ™
da mf
bœ mp
4
b˙˙ ™™ ∑
Œ
˙
eyes u - pon the road a - head?
b˙ ™
∑
&
mp
œ œ œ œ œ œ œ œ œ4
4
∑
& b˙ ™
5
(on the beat)
∑
6
° œ œ œ S1 & 36
E
œ
f #œ œ œ à œ #-œ
As we creep through traff - ic
œ ûœ ˙
* see note
mp
S2
&
I
˙
œ
Ee
& b˙ ™ da
A2
& œ œ nœ
T2
& ‹
œ
∑
Ee
da
mp
œ
à
œ #œI
mf
˙
track
œ œ û˙
the
#œ-
mp
dyn sim.
time
œ
œ œ
4
œ
œ û˙
Ee
b˙ ™
b˙ ™
˙˙ ™ ™
o b˙˙ ™™
+ ˙˙ ™™ O
∑
œ
as though she's
b˙ ™
∑
˙
œ
da
mp
Ee
O
mp dyn sim.
da
Ee
& b˙ ™ ‹ A
{&
ûœ œ J
œ bœ
4
as though she's
b˙ ™
#œ œ œ
ûœ
˙
time
b˙ ™
f
* see note
mf
+ ? B1.2. ¢ b˙˙ ™™
El.
Ϫ
œ œ
b˙ ™
As we creep through traff - ic
T1
the
Ee
p
A1
track
mp mp
#-œ
œ œ
∑
3 ° S1 & œ nœ œ œ œ œ œ ˙
40
wai - ting
S2
&
on
‰ œj
a gi -ven hour.
œ ûœ ˙
F
As
œ ûœ
˙
˙™ œ œ œ œ œ œ œ Slower [q=56]
if she's go - ing to meet me
œ
˙
Ee
A1
Ee
n˙ ™
& b˙ ™ da
A2
Œ
& nœ œ œ œ œ œ œ ˙ wai - ting
T1
T2
B1.2.
El.
& ‹
on
a gi -ven hour.
ûœ
˙
Ϫ
Ee
jŒ bœ
? ™ ¢ b˙˙ ™
‰ ‰ œj
ûœ
œ
œ û˙
Ee
ûœ
œ œ ˙ œ œ œ œ œ f
if she's go - ing to meet me
mf
there.
b˙ ™
b˙ ™
b˙ ™
f
A
f
o b˙˙ ™™
n˙˙ ™™
∑
œ
œ ™ ûœ œ J
da
Ee
As
& bœ ™ ‹
{&
mp
there.
mf
da
3
f
b˙ ™
b˙ ™
da
7
∑
˙˙ ™™
(keep open)
O
∑
∑
8
° œ & 44
S1
mf
tutti
mp
œ œ
œ
‰ œj œ œ
Œ
There.
S2
& œ
As
œû œ
˙
œ
Ee
A1
&
da
ûœ
˙
œ
Ee
T1
& ‹
œ
B1.2.
El.
Œ ‰ œj œ œ
tutti
As
da
û˙ p
˙
ùœ
bœ ™
mf
™ b˙˙ ™
? ™ ¢ #˙˙ ™
∑
ûœ ûœ
bûœ
mf
Ee
f
mf
œ œ œ œ ˙
if she's going to meet me
& b˙ ™ ‹
{&
b˙ ™
Ee
mf
T2
Ee
da
mf
me.
ûœ œûbœ ùœ ûœj J J
b˙ ™
b˙ ™
da
A2
Ϫ
œ Œ J
mf
Ee
& b˙ ™
mf
œ œ œ œ œ™
if she's there to wait for
p
˙
f
G
j Œ bœ
œ
there.
‰ œj œ œ
As if she's
b˙ ™
b˙ ™ mp
A
˙˙ ™™
∑
Œ
b˙˙ ™™ O
∑
∑
° & œ œ- œ 48
S1
As
S2
A1
T2
œ bûœ J
7
b˙ ™
7
Œ
bûœ
7
b˙ ™
ùbœ
ûœ
o Œ
247b˙
Ee
Ee
œ b˙
427b ˙
Ee
Ee
œ 7b˙
24 7b˙
Ee
Ee
#˙˙ ™™
b bb œœœœ
G1 7 7 7
˙
mf
˙˙˙ ™™™™ ˙
p
Œ
Ee
b˙ ™
? ˙™ B1.2. ¢ ˙™
El. & Ó {
mp
7
7
mp 24 ˙
œ
43
43 43 43
43
Ee
p
œ b˙
42 b˙
O
O
œœ #˙˙
42 #˙˙
O
O
˙˙˙ ™™™™ ˙
mp
Ee
œ b˙ 7
Ee
ùœ
42 Œ
Ee
ûbœ bùœ J
7
f œ œ œ œ œ & ‹ going to meet me there.
& ‹
˙
me
Ee
T1
mf
Ee
& b˙ ™ & <b>œ
for
‰ ‰ ùœJ
da
A2
f
if she's there to wait
& <b>œ ™
o
œ œ ˙
-œ œ -œ
9
p
˙˙ 42 ˙˙
43 43
43
10
H p ° 3 œ í ™™ Œ S1 & 4
™™î
52
* see note
Ee
3 b˙ ™ & 4 í ™™ 7
S2
≠
Ee
Œ ™™î
p
* see note
Ee
3 & 4 í ™™7b ˙ ™
≠
with gradually shorter gliss.
U
™™î
Ee
ùb ˙ ™
7û 3 ™ í ™ &4 b˙™
A2
Ee
T1
3 &4 ‹
Ee
í ™™ Œ œ
™™î
* see note
Ee
3 & 4 í ™™ b˙ ™ ‹ O
U
* see note
U
with gradually shorter gliss.
B1.2.
?3 ¢ 4 #˙˙ ™™ O
˙˙˙ ™™™™ 3 El. & 4 ˙ {
≠
to shared stave
U
™™î
breath ad lib.
≠
to shared stave
breath ad lib. * see note
T2
≠
to shared stave
™™î
breath ad lib. 7
bU ˙™
7
Ee
breath ad lib. * see note
A1
U ˙™
Free tempo G.P.
with gradually shorter gliss.
≠
to shared stave
n˙˙ ™™ ˙˙˙ ™™™™ ˙
* Loop marked passage.
b˙˙ ™ ™
bb˙˙ ™™
˙˙ ™™
˙˙˙ ™™™™ ˙
˙˙˙ ™™™™ ˙
˙˙˙ ™™™™ ˙
í ™™
U
™™î
Descend until lowest note is reached * see note
_™
O
˙˙˙ ™™™™ ˙
˙˙˙ ™™™™ ˙
˙˙˙ ™™™™ ˙
˙˙˙ ™™™™ ˙
≠
11
I
° &
A Tempo when effects fade
S1
Ϊ
U ∑
61
mf solo
œ œ œ J
Ϫ
p
‰ Œ
When I arr - ived, 7U b˙ ™ ™ í & ™
™™î
U & í ™™7b b˙˙ ™™ u
™™î
mp
S2
Ah mp
7
A1.2
œ œ 7bœ œ 3
When I
pp poss.
œ ‰ J
Ó
arr - ived,
When
* see note
* see note
Ah
T1.2
B1.2.
El.
¢
& ‹ ?
{
U ∑
∑
∑
∑
∑
U ∑
∑
∑
∑
∑
b˙™ & 7b b ˙˙ ™™ ?
77
I1
U ∑
˙˙ ™™ ˙™
˙˙ ™™ ˙™ ∑
˙˙ ™™ ˙™ ∑
˙˙ ™™ ˙™ ∑
* Use hand on mouth to create a 'wah' effect, getting gradually faster and slower.
∑
12
66 ° 7bœ œ ˙ S1 &
I arr - ived,
b˙ ™ ≠ ‰ í ™™ ≠‰
&
A1.2
∑ 7
&
S2
J
∑
Œ
Ϸ
Ó œ œ œ œ œ
3
She was al - read - y
!™
pp
mp
* see note
& ‹
T1.2
ng
B1.2.
El.
¢
?
!™
mp
* see note
{
˙™ & ˙˙ ™™ ?
mf
í ™™ ˙˙ ™™
™™î
mf
™™î
Ah
pp
ng
í ™™
˙™
b˙ ™ n ˙˙ ™™ Ah
7
∑
˙™
∑
œ
pp poss.
™™î
mf
Ah
∑
J1
p
œ̇
œ
dead She was
œ
al - read - y
œ œ Œ
œ œ œ bœ ∑
dead, when I arr ived.
* see note
≠
* see note
˙™ ˙˙ ™™ ˙™
* Gliss. from highest possible note, transition from an 'ng' to an 'ah'
˙™ ˙˙ ™™ ˙™
˙™ ˙˙ ™™ ˙™
° S1 &
tutti pp
71 * see note
_™
K
13
b˙ ™ í ™™
(norm.)
b˙ ™ ≠ í ™™
(norm.)
mp
mf
7
ng
Ah
mf
7
&
S2
Ah
44
3 ≠Œ 4
™™î
44
3 ≠Œ 4
3 j ‰ œ œ œ œ œ œ Œ œ œœ œœ œœ œ 44 ˙ ™ œ ˙™ ‰ œJ œ œ œ œ œ Œ œ
mf
Ó Ó
& <b>œ Œ Œ
A1.2
™™î
3
There is -n't much else
& ‹
T1.2
B1.2.
El.
¢
?
{
≠ !™
pp
that I re - mem - ber
∑
∑
∑
44
∑
43
Œ Œ
∑
∑
44
∑
43
mp
-
ng
˙™ & ™ ˙˙ ™ ? ˙™
Œ 43 Œ
ah
bb˙˙ ™™
77
˙˙ ™™
K1
∑
* Gliss. from lowest possible note.
˙˙ ™™ ∑
44 ˙˙ ™™ ∑
44
Œ 43 ∑
43
14
° 3 S1 & 4
∑
∑
∑
∑
45
∑
43
3 &4
∑
∑
∑
∑
45
∑
43
76
S2
& 43 í ™™7b˙ ™
™™î
≠ Œ í ™™b˙ ™
™™î 45
3 ≠Œ 4
3 7 & 4 í ™™b˙˙ ™™ ‹ Ah
™™î
b˙ ™ ≠ Œ í ™™ ˙ ™
™™î 45
3 ≠Œ 4
mf
A1.2
Ah
mf
T1.2
mf
? 3 Œ œ œ 3 bœ B1.2. ¢ 4 J solo
El.
{
The priest took
3 & 4 7b7 ˙ ™™ b ˙˙ ™ ?3 4
K2
∑
7
mf
Ah
Ah
f
œ œ bœ œ œ ˙ J
Œ
˙ ™™ ˙˙ ™
Œ
3
4 œ œ œ œ 5œ œ œ œ Œ 3 4 4
too long,
∑
˙ ˙˙
mf
4
I did -n't know how to pray.
∑
b˙ ™ b n ˙˙ ™™
K3
7
7
∑
45 w w w 45
Œ 43 ∑
43
15
L ° 3 S1 & 4 81
S2
∑
3 &4
∑ b>˙ ™
f mf
∑
7
b>˙ ™
7
f mf
54 b˙ 7
˙™
Ah
Ah 7
b˙ 45
Ah
3 & 4 œœ f
A1.2
œ œ
™ & 43 Ó˙ ™ ‹ >
small,
Ó˙™™
Ah
tutti f mf
El.
{
3 &4
L1a
?3 ˙™ 4 ˙˙ ™™
such a small
Ó˙™™
Ah
˙˙ ™™
Ah
∑
p
œ̇ bœ œ ‰‰ œœ œœ œœ ™ œ œ œœ œœ œœbœœ œœ 45 œœ nœœ œœ œ ˙˙ ™™
œœ
f mf
?3 B1.2. ¢ 4 ˙˙ ™™ >
˙™
(on the beat)
5
T1.2
p
Ah 5
She seemed so
˙™
b˙ ™
7
˙™ ˙™
f mf
45 ˙˙
Ah
˙ 45 ˙
Ah
b˙˙ ™™
L1b
7 L1c
˙™ ˙˙ ™™
˙˙ ™™ ˙™
à à
thing.
˙˙ ™™
L1d
p
Ah
˙˙ ™™
Ah
54 ˙˙ ˙ 54 ˙˙ ˙
p
bb ˙˙ ™™ ˙™ ˙˙˙ ™™
77
L2
p
16
M ° S1 & Ó 85
bœ 7bœ œ
mf 7
What did
bœ 7bœ œ
mf 7
& Ó
S2
What did
mf
& Ó
A1.2
& ÓÓ ‹
mf
? Ó B1.2. ¢ Ó
mf
El.
=
I
bœ b œ œ
7
7
What did
T1.2
I
I
œœ œœ œœ What did
I
b˙
7
miss?
b˙
7
miss?
b˙
7
miss?
˙˙ miss?
œœ œœ œœ ˙˙ What did
{&
I
miss?
∑
N G.P. (wait for elec.) q.=48 U ° 12 ∑ S1 & 8 S2
U ∑
12 & 8 ˙™
U™ ˙
Was
there
p
A1.2
T1.2
B1.2.
¢
12 &8 ‹ ? 12 8 N1
El.
12 & { 8 ~~~ ™™ ~ ™
What did
Ó™
U ∑ U ∑
I
p
What did
Ó™
I
7 bœ b œ œ b˙ 7
Ó™ Ó™
What did
I
12 8
∑
12 8
∑
12 8
∑
12 8
∑
12 8
miss?
p
7
∑
miss?
bœ œ œ ˙
7
miss?
‚‚ ‚‚ ‚‚ OO (whistled)
Ó™ Ó™
‚‚ ‚‚ ‚ O (whistled)
Ó™
∑
89
12 &8
Ó™
p
bœ œ œ ˙
7
‚‚‚ ‚‚‚ ‚‚‚ ‚ ‚ ‚ OO ™™
∑
∑
∑
∑
˙™
mp
12 8
M1
à ™ œ œ œ œ™ J
œ™ œ œj œ ™
3 . à œ œ œ œ ™ œ œ œ œ œ ™ œ œ œ ™ œ. œ. œ. œnœ ™ ˙ ™ bœ J
some
last
~~~ ™™ ~ ™
-
he
-
(on the beat)
f
Some last
co
∑
co - he
~~~ ™™ ~ ™
-
∑
rence.
rence?
° Œ™ &
œ œ œ œ j œ™ #œ
92
S1
& Ϊ
S2
& ˙™
A1.2
T1.2
B1.2.
El.
=
¢
f
œ œ œ œ j œ™ #œ
Some glimpse of pain, f
à
Some glimpse of pain,
˙™
glimsed
œ œJ #œ œJ a gri - mace.
œ œJ #œ œJ œ™
a gri - mace.
Ϫ pain,
∑
& ‹ ?
˙™
∑
˙™
∑ ˙™
˙™
Ϫ
ran
∑
∑
-
dom
#œ ™ œ™ œ #œ œ œ œ ™ J J mf
Ran
~~~~ ™™™
-
dom tre
∑
∑
∑
&
∑
∑
∑
S2
A1.2
à
& ˙™
Ϫ tre
T1.2
El.
-
˙™
Ϫ
mors,
-
{ & ~~~ ™™ ~ ™
j j œ œ™ œ œ -
Ϫ
-
i
-
œ œbœ œ ™ nœ bœj œ bœ œ œ Œ™
Ó™
chi
-
-
∑ ~~~~ ™™™
˙ ™™ œ ˙™ J
to seperate staves
-
mors.
~~~~ ™™™
œ ™™
Ϫ
mf
Mon - i - tors
œ
Ϫ mon
Ϊ
∑
& ‹
? B1.2. ¢ œ™
bœ ™
-
~~~~ ™™™
° S1 & 95
Ϫ
∑
∑
{ & ~~ ™™ ~~ ™
17
-
to seperate staves
18
O
° fœ S1 & 98
œœœ
Some glimpse
& Ó™
S2
j #œ of
pain,
˙™
Ra
& ˙™ ˙™
˙ ™™
tors
Ra
& œ œ œ œ ™ bœ œ œ œ œ œ ™ ‹ Some last f
T1
& ˙™ ‹ ming. ?
B1
B2
El.
¢
? Ó™
{ & ~~ ™™ ~~ ™
a
-
-
œ
gri
-
à
-
œ J
Ϫ
-
Ϫ
Ó™
œ œ œ
˙™
mace.
-
-
-
3 . œ ™ œ. œ. œ. œ nœ ™
-
-
Ra
˙™
ttl - ing breath,
˙™
-
Ó™ ˙™
à
ttl - ing breath,
œ œ œ -
à
rence.
∑
∑ mf
Ϫ
œ J
co - he
Ó™
f
T2
œ #œ J
œ
mf
mf
A1.2
Ϫ
-
-
œ™ ~~~ ™™ ~ ™
Ϊ
-
-
œ œ œ
˙™
ttl - ing breath,
#œ ™ œ™ mf
à
Rand -
° b˙ ™ &
S1
ga
-
-
& b˙ ™ ga
& ‹
T1
-
-
b˙ ™
b˙ ™
-
-
-
-
-
-
n w™
-
-
-
-
-
? œ -
B2
El.
¢
#œ œ œ œ ™ J J om
trem
? b˙ ™
{
ga
& ~ ™ ~~~ ™™ ?
-
Ϫ
-
-
43 ˙ ™
sping
à œ ™ 68 œ ™ œ ™ 43 ˙ ™
f
-
-
-
Ϫ -
O1
n w™
~~~~™™™
w™ “‘
à
44 44
44
A
68 œ™ à œ™ 43 ™ mp
ors.
n˙ ™
-
mp
ming.
œ j j œ ˙™ œ œ
7
∑
68 ˙™
A
7
-
sping
ing.
f
b˙ ™
34 ˙ ™ à 44
mp 68 œ ™ à œ ™ 43 ™
& œ œbœ œ ™ nœ bœj œ œ œ œ œJ ˙ ™ ‹ Mon-i- tors chi -
B1
sping
nw ™
mf
T2
19
68 ˙ ™
-
b˙ ™
gasp
-
7
-
mf
-
7
-
-
-
nw™
b˙ ™
ga
A1.2
-
34 ˙ ™ à 44
68 ˙ ™
7
-
™ & b˙
S2
nw™
b˙ ™
100 mf
44
A
6 œ™ 8 ˙ ™
sping
˙™
68 ˙˙˙˙ ™™™ 68 ˙™
à 4 34 4 ˙™ ˙™
43 ˙ ™ ˙˙˙ ™™ 43 ˙ ™
44 44
20
P cresc. ° 4 7n w S1 & 4 104
Sa
4 nw &4 7
S2
-
cresc.
Sa
A1.2
-
cresc. 4 &4 w Sa
-
œ #œ œ #œ 4 &4 ‹ sa f
T1
œ #œ œ #œ 4 &4 ‹ sa f
T2
B1
? 44
œ
f
sag
?4 B2 ¢ 4 w
sag,
El.
{
w
4 & 4 ww w w ? 44 w <“>
7
-
gging
˙
7
-
gging
n˙
˙
˙
-
gging
œ ˙™ œ
œ ™ œ à 7n œ ˙ ™ 12 J 8 Clou
Clou
à j 12 8 œ™ œ œ ˙ ™ Clou
œ 12 ™ Œ 8
œ ˙™ œ
A
œ 12 ™ Œ 8
gging,
˙ ˙
w
w ww w w
Ó
-
-
A
12 8 Œ™ Œ
clou
12 8 Œ™ Œ
-
-
-
-
-
-
à
œ™ œ™ ˙ ™
to seperate staves
ding
-
Ϊ
ding.
-
Ϊ
ding.
Ϫ
j œ ˙™
Ϫ
f
à
ding
j œ ˙™
f
cloud,
w™ 12 ™ 8 ww w w ™™™ 12 8 w™
œ ™ 7n œ ™ ˙ ™
œ œ #œ œ ™ ™ œ ™ ˙ ™ #œ J J œ™ clou
à
ding
œ œ #œ œ ™#œ ™ œ ™ ˙ ™ J J œ™
cloud,
Ó
œ ™ 7n œ ™ ˙ ™
œ ™ œ à 7n œ ˙ ™ 12 J 8
gging,
mf
˙™
n˙
˙
w™ ™ w ww w ™™™ w™
Ϊ
Ó™
Ϊ
Ó™
f ° n -œ ™ -œ™ -˙ ™ S1 & 108
7
A
&
S2
ceas - ing,
f n -œ ™ -œ™ -˙ ™
7
A
Œ ™ œ™ œ™ ˙ ™
ceas - ing
not a par
-œ ™ ˙ ™ & œ™ -
Œ ™ œ™ œ™ ˙ ™
f
A
& ‹
T1
& ‹
T2
El.
-œ™ 7n -œ ™ -˙ ™ A
-œ™ 7n -œ ™ -˙ ™ A
¢
? Ϊ
™ { & ww w w ™™™
not a par
œ- ™ ˙- ™
7
œ™ œ™7n œ ™ ™ Œ
haps,
per -haps a
œ™ 6 œ™ àbœ ™ 12 œ ™ bœ ™ ˙ ™ 8 8 ff
Per
-
haps,
™ 68 bœ ™ à œ ™ 12 8 bw mf
-
ting. Per -
ha(ps)
68 bœ ™ à 12 nœ ™ 8 œ™ nœ ™ ˙ ™ ff
-
ting.
Per
-
haps,
œ ™ 6 œ ™ à œ™ 12 b ˙ ™ 8 8 ff
Per -
œ ™ œ ™ œ ™bœ ™
haps,
per haps a
œ ™ 6 œ ™ ™ 12 Œ 8 8
mf
∑
not a par - ting.
Ó™ Ó™
ceas - ing
∑
Per -
not a par - ting.
ceas - ing,
ceas - ing
œ™ œ™n œ ™
Ϊ
ceas - ing,
? Œ ™ -œ ™ -˙ ™
B1
B2
ceas - ing
œ ™ œ ™ œ ™bœ ™
ff
not a par - ting.
-™ & œ™ - œ ˙- ™ A
A2
œ ™ œ™ œ ™ Œ™ n 7
21
œ™ 6 œ™ à œ™ 12 b ˙ ™ 8 8
not a par - ting.
ceas - ing,
f
A1
™ œ™ œ ™ Œ™ n œ 7
Q
˙™ par
˙™
part
o “” ™ b bw bw ww ™™™ w ww w™™™
(loco)
b˙ ™ 68 bœ ™ à œ™ 12 8
œ ™ œ ™ œ ™bœ ™
ff
-
-
ting. Per -
68 b˙ ™
ing.
™ 68 ˙˙˙˙ ™™™ o mp
haps,
per -haps a
12 8 Œ™ œ™ ˙ ™ ff
haps,
™™™ w ww 12 w 8 ™ pp
22
° b˙ ™ S1 & fa
&
S2
Ϫ
Ϫ
ding,
too.
f
112
-
<b>œ ™
bœ ™ mf
˙™
Un - con -
œ™ bœ ™ œ ™
fade
-
&
A1
& Ϫ
A2
& ‹
T1
& ‹
T2
Ϫ
fade
¢
?
Ϊ
Ϫ
f
w™
fade
w { & bbbw ww ™™™ (loco)
mp
scious
Ϫ
w™
-
too,
Ϫ
Ϫ
ding,
too.
˙™
Ϫ
Ϫ
ding,
too.
f
˙™
Ϫ
à œ™ bœ ™ Un - con -
Œ ™ bœ ™
‰ Œ™
-
fa(de)
-
œ™ œ™ b˙ ™
mf
à
for
hours,
˙™
Ϫ for
œ™ bœ ™ œ ™
˙™ f
-
bœ ™
too,
bw ™
fa
El.
mf
b˙ ™ fa
˙™
too
? b˙ ™
B1
B2
‰ Œ™
à œ ™ bœ ™
˙™
‰ Œ™ à
Ó™
bœ ™
˙™
for
bœ ™
œ™ œ™ b˙ ™
mf
mp
scious
for
hours,
w™
co(n)
à
˙™
œ ™ bœ ™ Un - con -
œ™ œ ™ œ ™ too,
w w ww ™™™
˙™
bœ ™
œ™ œ™ b˙ ™
mf
mp
scious
œ™ w w ww ™™™
à
for
bœ ™
for
hours,
˙™
° S1 & 115
&
S2
<b>˙ ™ ˙™
mp
à à
hours,
&
A1
bœ ™
Ϫ
or
con -
bœ ™
Ϫ
or
con -
w™
&
A2
b˙ ™
à
hours,
& ‹
T1
& ‹
T2
?
B1
<b>˙ ™
à
bœ ™ or
con -
bœ ™
Ϫ
or
<b>˙ ™
B2
El.
¢
?
n˙ ™
hours,
™ w { & <b><b><b>w ww ™™
con -
™ ‰ Œ ™ bœ bœ ™ or
à à
bœ ™ or
œ œ œ™ J
b w™
7p
fused,
‰
˙™
p
fused.
Ϫ Per -
à œ™ œ™ f
fused.
*™
(whistling) * see note
4™
b˙ ™
7p
b w™
8 ΠJ
Per -
™
4™
˙™
Ϫ
Ϫ
œ ‰ Ó™
à
Ϫ
Per -
fused.
b˙ ™
con - fused,
bœ ™ bœ ™ or
mp
Ϫ
œ ‰ Œ™
Ϫ
fused.
-
hour
mp
b w™
7p
23
˙™
p
con -
fused,
bœ ™
p
con -
fused,
˙™ w ™ w ww ™™
* Whistling from highest to lowerst possible notes.
˙™ con
œ bœ œ ™ J
-
fused.
œ ™ bœ ™ con
-
œ ™ bœ ™ con
-
à œ™ œ™ f
Per -
œ bœ œ nœ œ ™ à œ™ J J fused.
œ bœ ˙ ™ J
fused.
w ™ w ww ™™
Per -
à bœ ™ f
Per -
R
24
° & 118
S1
bw™ f
p
haps
&
S2
˙™
˙™
-
&
A1
-
Ó™
&
˙™
à œ™ œ™ œ™ mf
b˙ ™
haps,
& ‹
T2
?
B1
per haps
El.
¢
?
˙™
™
-
‰ Œ™
mp
œ™ bœ ™ ˙ ™ a
fa
-
Ϫ
ding
-
b˙ ™ f
˙™
<b>˙ ™ -
™ w { & <b><b><b>w ww ™™
à ˙™
˙™
mf
œ ™à œ ™ œ ™ mf
mp
per haps
b˙ ™ mf
˙™
too,
fade
œ ™ bœ ™ ˙ ™ a
˙™
haps
fa
-
à bp˙ ™
Ϫ
à
Ϫ
un -
‰ Œ ™ b˙ ™ too
b˙ ™ too
Ϫ
˙™
ding
too,
˙™
fade
w ™ w ww ™™
too
w™
˙™
p
haps
˙™
p
-
ha(ps)
˙™
-
‰ Œ™
too
w™
haps,
B2
˙™
p
p
∑
& ‹
T1
à
fade
norm. mp
f
™
p
fa(de)
haps
ha(ps)
A2
‰ Œ™
˙™
mf
b˙ ™
œ™ à œ™ un -
b˙ ™ too
w ™ w ww ™™
° & 121
S1
bw ™
-
too
&
S2
&
A1
&
A2
à
˙™ bœ ™
b˙ ™
˙™
Ó™
Ó™
˙™
˙™
Ϫ
& ‹ & ‹
T2
?
B1
™ <b>˙ ™
for
-
‰ Œ™
B2
El.
¢
b˙ ™
hours,
hours
bœ ™
˙™
<b>˙ ™
™ w { & <b><b><b>w ww ™™
à
˙™
hours
b˙ ™
for
hours,
p
˙™ w ™ w ww ™™
$™
Ϫ
Ϫ
or
con -
* see note
˙™
p
˙™
-
fused
mf
p
w™
fused.
‰ Œ™
$™
(whistling) * see note
bœ ™ or
Ϫ
‰ Œ™
(whistling)
-
bw ™ ˙™
-
mf
hour
à b˙ ™
con - scious
?
p
™
25
or
con
con - scious
T1
or
o ™ bœ ™ Œ
hours
‰ Œ™
‰ Œ ™ b˙ ™
S
Ϫ
Ó™
bw ™ mf
p
con - fused,
œ™ bœ ™
or
mf
con - fused
œ ™ bœ ™ or
b˙ ™
w™
mf
con - fused
w ™ w ww ™™
p
à
26
° S1 &
$™
* see note
124 (whistling)
& 4
S2
& ˙™
A1
A2
& w™
T1
& ™ ‹
˙™
con
4
-
? Ó™
{
& ?
Ó™
™
4
‰ Œ™
-
w™
U ˙™
w™
U ˙™
fu(sed)
con
o p ‰ bœ œ7bœ œ œ o Ó™
U ∑
∑
U ∑
bw ™ -
by the time
∑
U ˙™
o Ó™
U ˙™
o Ó™
fu(sed)
b˙ ™
bœ œ œ
7
U ∑
bw ™ -
Ϊ
p
when he was
∑
con
¢
4
‰ Œ™
? bw ™
B1
El.
à
& ‹
T2
B2
$™
‰ Œ™
(whistling)
‰ Œ™
U Ó™
G.P.
fu(sed)
∑
∑
∑
∑
T1
bU w bb w w™™™
7 77
U ™ b bw w™
she
° &
T
I
bw
bœ œ
127 Lucy f 7 7 S1
bœ
Awake. I've actually Fiona f 7
7 b œbœ bœ œ œ
&
7
&
7
We had a really strong group at university.
bW
Strong.
bW f
b˙
& &
7
7 œb œ ˙
œœ˙
bw
Died.
bw
f
b˙
œ bœ œ bœ œ
I'm quite an independent person, so I was
Will
f
b˙
bw & were childhood best friends. ‹ f We I hadn't seen him Ben ? bw
B1
Piers f
? ¢
?
Jack
{
f
œ
mp
bw
7
Properly break down. It was really.
œ 7bw
bw
Desperate to move away aged eighteen. I was quite
mp
7 œ œ bœb œ w
mp
for quite a few years.
Ú
bW
Two
bbW W
Ú Ú
mp
These two women are left behind and they both die when I'm not there.
T1 77 7
˙
mp
He had been fighitng illness for years, it took him a long time to die.
bbW W b W & ?
bW
7
It was the first time I'd seen my dad
& ‹
T2
Died.
f
Tom C
˙
7 mp
Her
& ‹
T1
œb œ œ 7
I feel quite lucky in that I am
bW
Ed
mp
bœ
7
We got her when I was eight, Amy f but it was twenty-two when the dog
A2
œ7bœ œ
7
7f
7
7 œb œ ˙
bœ
Died
Rosie
27
œœœ
7 mp
Shock
&
A1
El.
œœœ
bW
Laura
bœ œ
7mp
been really lucky.
Always going to be a massive shock Daisy f
S2
B2
II
7
b WW b W b W W
77 7
T2
œ
28
° S1 & 129
III
bœ
7 mf
œ7b œ œ œ œ
œœœ
IV
He used to turn up on our doorstep unannounced
with piles of toys from charity shops. Used
œbœ œ
& b˙
7 mf
7
It's the worst thing in the world
mf
& bW 7
bW
7
touch
mf
& œ bœ ˙
A1
worst
Ú
bœ œ
Relatively untouched by death.
mf
& A2
w
bœ bœ œ œ w
There had been this constant physical presence
mf
in the hosue since I was a child, who would always be there
& W
house
bw
mf
7 œ œœœœ & nœ b œ ‹ sobering, you have to step up and sup-
port. In my
Ú
mf
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plastacine, videos about lemurs in Madagascar.
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for quite a few years.
mp
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-
n˙˙ ash
œ œ œ 3
p
-
-
œ œ œ 3
Best to for
∑
44 ˙
p
Best to for
hergrave
44 à
42 Œ
∑
-
43 œ ˙
get him,
43 œ ˙
get him,
43 ˙
p
bœ œ œ
His
fav - our - ite
3
42 ˙
43 ˙
42 n˙˙
œ œ 43 bœ œœ œ
es.
es.
42
æ ˙˙˙
p
bœ œ œ
His
fav - our - ite
3
œœ
His fav - our - ite
43
æ ˙˙˙
æ œœœ
S1
BB
° bb b 4 ‰ j & b b4 œ œ œ œ œ 172
3
mf
that time ov - er East
œ -
mf
S2
3 bb4 ‰ j b b & b4 œ œ œ œ œ
that time ov - er East
A1
A2
bb4 & b b b4 Œ
bb4 & b b b4 Œ
mp
bb4 & b b b 4 n˙ ‹ joke
mp
-
3
œ œ ˙
er
when we
œ
mp p
er
when we
mp
œœœ œœ
the
ann - i-vers ar - y
mp
œ
œœœ œœ
the
ann - i-vers ar - y
à
p
3
mp
al - mostdied laugh - ing
˙ match
p
˙
ah
à
3
œ œ œ œ œ
match we
ah
ah
p
˙˙
˙˙
˙˙
joke
ah
ah
ah
ah
bbb 4 n˙˙æ b El. & b4 ˙ {
æ b˙˙ ˙
æ nnn˙˙˙
æ b˙˙ ˙
? bb4 ˙ B1.2. ¢ b b b 4 n˙
˙˙
æ ˙ ˙ b˙
p
al - mostdied laugh - ing
whe(n)
Ea(st)
46
àp 6 œ œ œ œ 4
mp
˙
T2
whe(n)
p
b˙
we
w
b˙
à
p
p
n˙
mp
Ea(st)
à
p
œ œ œ œ 6 4
n˙
bb4 & b b b 4 n˙ ‹ joke
b˙
43
ah
˙
T1
à6 4
w
œ œ œ œ œ
œ
3
p
a(ll)
b˙ la
we
˙
à6 4
˙
à6 4
˙˙
à6 4
ah
ah
Iy
æ ˙ ˙ b˙
46
44
CC
° bb 6 ˙ S1 & b b b ™™4 175
S2
pp
˙
˙
ah
ah
ah
b b ™6 œ œ3 œ b & b b ™4
œ ˙
almost died laugh - ing
A1
bb &b b b
™™46 ˙
A2
˙
™™46
ah
3
œ œ œ
bb 6 & b b b ™™4 n˙ ‹ ah
pp
bb 6 & b b b ™™4 ˙ ‹ ah
pp
T2
pp overtones
B1.2.
™™ w ™
we
˙
? b b ™6 ¢ b b b ™4 ˙˙
Iy
bbb ™™6 n˙˙æ b El. & b 4˙ {
ah
˙
ah
√
w™
we
mp
w™
ah
ah
mp
w™
ah
™™
ah
w™
™™ ™™
ah
mp
w™
™™
w™
™™
ah
˙
√ ™™ ™ w
™™ ™ w
nw ™
™™
˙
√ ™™ w™
™™ w™
nw ™
™™
™™ w™ w™
w™ w™
™™
™™ w ™
w™
™™
ah
ah
ah
ah
˙˙
˙˙
Iy
Iy
√ ™™ w™ w™ ƒ
æ ˙ ˙ b˙
™™ √ æ™ w w w ™™
æ b˙˙ ˙
™™
w™
ah
ah
*see note
ah
ah
√ ™™ œ w™
œ ˙
b˙
ah
™™
ah
almost died laugh - ing
T1
√ œ ™™ w™
ah
pp
ah
bb &b b b
√ ™™ w™
DD mp ™™ w ™
Iy
CC1
* Use pursed lips to produce an overtone rich sound
mp
ah
mp
ah
mp
Iy
mp
ah
ah
Iy
° bb U S1 & b b b ˙ ™ 179
G.P.
EE q=88 Ó™
sempre mp
nnnnn 7b˙
w™
* see note on vowels
ah
eh
œœœœ˙ ah
≠
w™
eh
Ó™
nnnnn
∑
∑
∑
bb U b & bb ˙™
Ó™
nnnnn
∑
∑
∑
bb U b & bb ˙™
Ó™
nnnnn
∑
U b b & b b b n˙ ™ ‹ ah
Ó™
U b b & b b b n˙ ™ ‹ ah
Ó™
U ? b b B1.2. ¢ b b b ˙˙ ™™ u
Ó™ Ó™
S2
bb U b & b b ˙™
45
* see note on vowels
ah
A1
* see note on vowels
ah
A2
* see note on vowels
ah
T1
T2
{
Iy
bb U b & b b Ó™
El.
? bb U b b b Ó™ bbb U b & b ˙™
sempre mp
b˙
7
eh
œ œ œ œ w™ ah
oh
sempre mp, breath ad lib. n n n n n w™ w™
w™
O
overtones sempre mp, breath ad lib.
nnnnn w™
w™
w™
sempre mp, breath ad lib.
w™ w™
w™ w™
Iy
w ™™ w ™™ w w w w ™™ w™ w™ w™ ˙™
w ™™ w ™™ w w w w ™™ w™ w™ w™
Ö
U 7 DD1 bœ Ó nnnœœœœ œ U nœ Ó œ œ ˙ U ? œ
nnnnn w™ w™
7 77 bw ™™ n n n ™™ n n nbnw w w w w ™™ w™ n n ™ nnn w w™ ad lib. ™ n n nnn w
* Transition smoothly between vowels
˙
œ w™
à
46
° & 183
S1
∑
∑
Ó™
Ó
(norm.)
n œ 7n˙
7
ee
&
S2
b˙ ™
∑
7
sempre mp
eh
∑
&
A2
& bœ ˙ œ œ œ œ œ 7
eh
T1
T2
B1.2.
El.
¢
3
ah
ah
7 œ nw ™
w™
∑ ˙™
≠
Ó™
∑ bw ™
7
ah
eh
w™
w™
w™
& w™ ‹
w™
w™
w™
? w™ w™
w™ w™
w™ w™
w™ w™
w ™™™ w w ™ & w w w ™™ ™ ? w w™ w™ ? w™
w ™™™ w w ™ w w w ™™ w™ w™ w™
w ™™™ w w ™ w w w ™™ w™ w™ w™
w ™™™ w w ™ w w w ™™ w™ w™ w™
w™
Bw ™
w™
ee
Ó™
ee
& w™ ‹
{
eh
˙™
∑
A1
3
œ œ
ee
œ7b œ œ œ ˙
° ˙ à 7 œ 7bœ œ 7 b n œ w™ S1 & 187
eh ee
& Ó™
S2
w™
Œ n˙ 7
& & <b>˙
A2
≠
47
∑
eh
˙™
˙ 7b œ 7nœ ˙ 37bœ œ 3œ œ œ
ee
A1
≠
eh
∑
∑
Œ Ó™
∑
ee
eh
˙™
ee
7 n œ bœ œ
7
ee
∑ Ó™
à
∑
Œ 7b˙
à
w™
eh
T1
T2
B1.2.
El.
¢
& w™ ‹
w™
w™
w™
& w™ ‹
w™
w™
w™
? w™ w™
w™ w™
w™ w™
w™ w™
w ™™™ w w ™ & w w w ™™ ™ ? w w™ w™
w ™™™ w w ™ w w w ™™ w™ w™ w™
w ™™™ w w ™ w w w ™™ w™ w™ w™
w ™™™ w w ™ w w w ™™ w™ w™ w™
w™
w™
{
?
˙™
˙
Bœ w™
≠
48
° & 191
S1
FF
∑ Ó™
& 7n ˙ ™
S2
∑
∑
∑
∑
∑
∑
eh
∑
&
A1
sempre mp
n˙
7
eh
& 7n ˙
A2
B1.2.
El.
¢
n œ ˙ #œ œ œ œ œ eh
w™
w™
w™
w™
& 7nw™ ‹ Ö
w™
w™
w™
? w™ w™
w™ w™
w™ w™
w™ w™
™™ nw w # &n w w ™™™ nw w™ 7 ™ ? nw w™ w™
™™ w w w ™™ w w w ™™ w™ w™ w™
™™ w w w ™™ w w w ™™ w™ w™ w™
™™ w w w ™™ w w w ™™ w™ w™ w™
ah
sim.
T2
oh
˙™
w™
& 7nw™ ‹ oo
T1
ah
œ ˙™
{
Iy
7 77
?
FF1
˙™
µ˙ ™
3
3
7
w™
eh
œ#œ œ œ ˙
#œ #œ œ
à
eh
ah
≠
eh
˙™
˙
œ w™
µ˙ ™
˙
œ
° &
(norm.)
195
S1
∑
∑
#˙ 7n œ
∑
7
nϪ
7
ee
∑
&
S2
∑
(norm.)
#˙
7
ee
& w™
A1
w™
(norm.)
& ˙ 7n œ #œ # œ œ #w ™
A2
eh
T1
T2
B1.2.
El.
¢
7
ee
oh
≠
œ7nœ œ œ ˙ eh
Ϫ
#w ™ ah
w™
ee
∑
w™
∑
∑
∑
∑
w™
w™
w™
w™
& w™ ‹
w™
w™
w™
w™
? w™ w™
w™ w™
w™ w™
w™ w™
w™ w™
™™ w w ™™ & w w w w ™™ ™ ? w w™ w™
™™ w w w ™™ w w w ™™ w™ w™ w™
™™ w w w ™™ w w w ™™ w™ w™ w™
™™ w w w ™™ w w w ™™ w™ w™ w™
™™ w w w ™™ w w w ™™ w™ w™ w™
?
w™
bw™
˙™
≠ à
w™
& w™ ‹
{
49
œ B˙
w™
bw™
50
GG à 7 ≠ 7# œ #œ™ œ™ 7 b˙ ˙
° & <#>w ™ 200
S1
ee
(norm.)
S2
eh
& #œ ˙ 7n œ œ œ œ œ w™ ee
eh
ah
eh
bw ™
3
3
7
w™
œnœ œ œ ˙
∑
ah
ee
A1
&
∑
∑
∑
A2
&
∑
∑
∑
∑
b˙
7
eh
T1
T2
B1.2.
El.
& w™ ‹
w™
& w™ ‹
w™
? w™ ¢ w™
w™ w™
™™ w w ™™ & w w w w ™™ ™ ? w w™ w™
™™ w w w ™™ w w w ™™ w™ w™ w™
<b> w ™
w™
{
?
≠
w™
w™
O
w™
w™
Ö
w™ w™
w™ w™
™™™ w nbbnw w ™ w w w ™™ w™ w™ w™
w ™™™ w w ™ w w w ™™ w™ w™ w™
Iy
7 DD1 77
Descend freely into noise
œ œ œ œ ah
oh
≠ ° ™ <b> w S1 & 204
∑
∑
Ó™
(norm.)
7 7 Ó n œ n˙
ee
&
S2
∑
b˙ ™
∑
7
eh
&
A1
∑
∑ 3
A2
eh
T1
T2
B1.2.
El.
¢
ah
7 ™ nw œ œ œ
ah
∑ ˙™
≠
Ó™
bw ™
7
ah
eh
w™
w™
w™
& w™ ‹
w™
w™
w™
w™
? w™ w™
w™ w™
w™ w™
w™ w™
w™ w™
w ™™ w ™™™ w & w w w™
w ™™ w ™™™ w w w w™
w ™™ w ™™™ w w w w™
w ™™ w ™™™ w w w w™
w ™™ w ™™™ w w w w™
{
w™ w™ w™
w™ w™ w™
w™ w™ w™
ee
Ó™
∑
w™
w™ w™ w™
eh
ee
& w™ ‹
™ ? w w™ w™
œ7b œ œ œ ˙
˙™
∑
3 à7 b œ ˙ & w™ œ œ œ œ œ w™
ee
51
52
209 ° ˙ à 7 7bœ œ 7 bœ nœ S1 &
eh ee
& Ó™
S2
w™
w™
Œ n˙ 7
& & <b>˙
A2
≠
∑
eh
˙™
˙ 7b œ 7nœ ˙ 7bœ œ œ œ œ 3
ee
A1
≠
eh
∑
∑
Œ Ó™
∑
ee
3
eh
˙™
ee
ee
∑ Ó™
à 7 7bœ nœ œ
∑
Œ 7b˙
à
w™
eh
T1
T2
B1.2.
El.
¢
& w™ ‹
w™
w™
w™
& w™ ‹
w™
w™
w™
? w™ w™
w™ w™
w™ w™
w™ w™
w ™™ w ™™™ w & w w w™
w ™™ w ™™™ w w w w™
w ™™ w ™™™ w w w w™
w ™™ w ™™™ w w w w™
{
™ ? w w™ w™
w™ w™ w™
w™ w™ w™
w™ w™ w™
≠
° & 213
S1
HH
53
∑ Ó™
& 7n ˙ ™
S2
∑
∑
∑
∑
∑
∑
eh
∑
&
A1
n˙
7
eh
& n˙
B1.2.
El.
¢
eh
w™
w™
w™
& 7nw™ ‹ Ö
w™
w™
w™
?
w™ w™
w™ w™
w™ w™
w™ w™
™ nw w ™™™ # w n & w w n w ™™ 7 ™ ? nw w™ w™
™ w w ™™™ w w w w ™™ w™ w™ w™
™ w w ™™™ w w w w ™™ w™ w™ w™
™ w w ™™™ w w w w ™™ w™ w™ w™
sim.
T2
n œ ˙ #œ œ œ œ œ
w™
& 7nw™ ‹ oo
T1
oh
˙™
w™
eh
{
Iy
7 77
FF1
œ#œ œ œ ˙
ah
œ ˙™
ah
3
3
7
w™
7
A2
#œ #œ œ
à
eh
ah
eh
≠
54
° S1 &
∑
∑
#˙
∑
7
ee
∑
&
S2
∑
(norm.)
#˙
7
ee
& w™
A1
n œ ™ œ™ nœ #w ™
(norm.)
217
w™
à 7 & ˙ 7n œ #œ # œ œ #w ™
≠
œn œ œ œ ˙ 7
eh
7
7
ah
w™
≠à
w™
ee
∑
∑
∑
∑
∑
(norm.)
A2
eh
T1
T2
B1.2.
El.
¢
ee
oh
w™
& w™ ‹
w™
w™
w™
w™
& w™ ‹
w™
w™
w™
w™
? w™ w™
w™ w™
w™ w™
w™ w™
w™ w™
™ w w ™™™ w & w w w ™™ ™ ? w w™ w™
™ w w ™™™ w w w w ™™ w™ w™ w™
™ w w ™™™ w w w w ™™ w™ w™ w™
™ w w ™™™ w w w w ™™ w™ w™ w™
™ w w ™™™ w w w w ™™ w™ w™ w™
{
≠
° & w™ 222
S1
(norm.)
S2
ee
A1
3
& #œ ˙ n œ œ œ œ œ 7
&
3
7
eh
II Flexible tempo ∑ à 7n wp ™
w™
∑
T1
T2
&
& w™ ‹ & w™ ‹
? w™ B1.2. ¢ w™
El.
{
™™ w w w ™™ & w w w ™™ ™ ? w w™ w™
∑
∑
ah
ee 7 Œ ™ n œ™ #œ™ 7#œ™
w™
(norm.)
p
7
eh
A2
∑
∑
ee
ah
∑
w™
∑
∑ ≠
norm. p
nw™
∑
∑
oo
w™
p
nw™
∑
ö
w™ w™ ™™ w w w ™™ w w w ™™ w™ w™ w™
p
w™ w™
™™™ w nbbnw w ™ w w w ™™ w™ w™ w™
DD1
7 77
∑
55
56
° S1 & 226
S2
&
∑ nw ™
∑
∑
7
ah
∑ nU w™
overtones
7
∑
∑
∑
∑
∑
∑
ö
A1
&
∑
∑
∑
∑
∑
∑
A2
&
∑
∑
∑
∑
∑
∑
& ‹
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
T1
& w™ ‹ ö
∑
? B1.2. ¢ w™ w™
∑
T2
iy
El.
{
& ?
U w™ ö
U w™™ ∑ u
o